tromera endiaferon, gia to poso gia ton poutso einai oi diskografikes, kai alla
http://www.rollingstone.com/music/news/ ... d-20140718Lana Del Rey's new album, Ultraviolence, qualifies as a radical statement from a pop star in 2014 – it's mostly produced by Black Keys frontman Dan Auerbach, who relies on electric guitar and other live instruments, and none of its eleven tracks sound much like a potential radio hit. And as Auerbach reveals in Rolling Stone's new Del Rey cover story, her major labels (Interscope and the U.K.'s Polydor) were initially resistant to the idea of releasing it.
"There was a lot of bullshit I'm not used to," Auerbach tells senior writer Brian Hiatt. "The label says, 'We're not going to give you the budget to extend this session unless we hear something.' And
we send them the rough mix and they fucking hate it and they hate the way it's mixed. And it's like, 'Thanks, asshole.'… I think Lana put her foot down. Maybe it's normal for her, but it's not normal for me. Really rubbed me the wrong way. I got really defensive because I thought it was bullshit.
"The story I got told," he continues, "is that they played it for her label person and they said,
"We're not putting out this record that you and Dan made unless you meet with the Adele producer. And she said, 'Fine, whatever.' And she was late to the meeting, so while they were waiting, the label guy played what we recorded for the Adele producer and he said, 'This is amazing, I wouldn't do anything to change this.' And here's the kicker: Then all of a sudden, the label guy said, 'Well, yeah, I think it's great, too.'"Del Rey acknowledges a six-week period this past spring when Ultraviolence was in limbo. "I mean, I think there were people they wanted me to work with," she says. "I don't know who they were. When I said I was ready, they were like, 'Are you sure?'" She laughs. "'Because I feel like you could go further.'"
"I had heard about some back and forth regarding the music," responds Interscope chief John Janick. "But from the moment I met Lana, I've been of the mindset that she has an instinct that is pretty dead on and as an artist, she is fully formed. She knows her vision and her audience, and it's up to us to follow her lead on that."
"On this album, in my opinion, you didn't want her to try to do something," adds Janick's predecessor, Jimmy Iovine. "I felt she hit a bull's-eye. Everybody's saying to me, 'We need a single,' calling me from Europe. I said, 'You don't need anything.' It's a very coherent body of work, and thought any other conversation was a distraction."
In any case, the album debuted at Number One in June, selling 182,000 copies – and Auerbach is now a huge fan of his collaborator. "Every criticism that I'd ever heard about her was proven wrong when I was in the studio with her," he says. "From how great the songs were to how confident she is as a musician to her fucking singing every song live, with a handheld microphone and a seven-piece band. I mean, get the f*ck out of here, who does that? Nobody does that, there hasn't been a number one pop record that was recorded like that in forty, fifty years."kai synenteuksh tou Auerbach tou paragwgou (kai frontman black keys)
http://www.rollingstone.com/music/news/ ... g-20140507"She's a true eccentric, and, you know, extremely talented" says Auerbach, hanging in the lounge of his Nashville studio. "She has a definite vision of what she is and what she wants to be, musically and visually, which is cool. [Drummer Patrick Carney] and I have always just been, like, ‘You can take our photo, I guess,’ but she just like looks at this whole thing as this big art project that she gets to do, which is great."
Auerbach met the singer through his friend Tom Elmhirst while the duo were in New York mixing Ray Lamontagne’s latest record. "We went out one night with some people, some friends of Tom's and she was there hanging out, and I had never met her before," says Auerbach. "She didn't really know my music, I didn't really know her music, to be honest. I knew about her because, you know, she's in the press so much. But we just hung out and we like talked about music and realized we had things in common."
Del Rey mentioned she was going to be in Nashville soon, so Auerbach invited her to his studio, Easy Eye. "What started off as 'Let's get together for a couple days with some musicians’ turned into two weeks doing an album."
Auerbach admits he didn't have to do much to the songs: "Her demos were so good, her songs were so strong that I wanted to get my musicians in who I love and get my sound that I get here with her songs and that's it. I didn't want to mess it up. She sang live with a seven-piece band. That's the whole record – a seven-piece band with her singing live. It was crazy."
Del Rey was was criticized when she first hit the national stage with a high-profile appearance on Saturday Night Live in early 2012. But with singles like "Video Games" and "Summertime Sadness," her LP Born to Die went on to go multi-platinum and become one of the biggest albums of the year. "I know she like got shit for SNL," says Auerbach. " I can't imagine being in the position she was in – like being relatively unknown to being thrust onto that world stage. I remember the first time we played Conan, we were so nervous and we were just playing a rock & roll song. She's, like, wearing a fucking gown under a spotlight. It must have been insane. But she sang live and there are no edits. It was awesome. She impressed everybody."
Login
FAQ
/ balte / to fb forum / ston kolo sas
